Author: Simon Geard

I’m looking for ideas on how to represent a character defined by their rejection of a villainous legacy or mentor.

I’m looking for ideas on how to represent a character defined by their rejection of a villainous legacy or mentor.

I’m looking for ideas on how to represent a character defined by their rejection of a villainous legacy or mentor… something like how Stephanie Brown became Spoiler as a heroic foil to her father, or Cassandra Cain’s relationship with father David (I think Stephanie proposed a “difficult parents club” at some point).

Both of these examples are un-powered individuals who could be played as a Beacon (indeed, Brown is listed as inspiration for that playbook), but the Beacon doesn’t really focus on the right aspects of their stories. Whereas the Legacy and Protégé do focus on the relationship with an adult figure, but they’re both the wrong kind of relationship… while not always working smoothly, both seem to expect a mostly-positive relationship rather than outright hostility.

Thoughts? The character I’m looking to model has powers, but they’re relatively subtle… minor real magic masquerading as sleight of hand, that sort of thing. The Delinquent would be a pretty good match in terms of the moves, but likewise lacks the right focus and flavour…

Looking to start a new Sprawl game (it’s been a while since last time), and looking to check something – by the…

Looking to start a new Sprawl game (it’s been a while since last time), and looking to check something – by the…

Looking to start a new Sprawl game (it’s been a while since last time), and looking to check something – by the book, do you normally create any contacts during character creation, or do you only create them in-play by “declaring a contact”?

I had the vague idea that characters would have one contact up-front, but can’t find anything in the book to support that (possibly I’m thinking of something from the Kickstarter drafts)…

Looking at some of the Infiltrator moves for an upcoming game, I’m trying to figure if “psychological warfare” is…

Looking at some of the Infiltrator moves for an upcoming game, I’m trying to figure if “psychological warfare” is…

Looking at some of the Infiltrator moves for an upcoming game, I’m trying to figure if “psychological warfare” is supposed to cover the actual violence, or just the attempt to mess with enemy morale?

To give an example – let’s say I’m stalking the corridors of a corporate facility, causing a few inconveniently placed guards to quietly disappear from their posts, and causing the remainder to be more worried about their skins than doing their job.

The move says “when you attempt to influence the morale of your enemies by leaving evidence of violence”. But I’m unclear whether the actual violence (eliminating inconvenient guards) would come under this move – or whether this move would trigger after the guards were eliminated (perhaps with Mix It Up). Thoughts?

Hanging out in Tokyo at the moment, on a work trip.

Hanging out in Tokyo at the moment, on a work trip.

Hanging out in Tokyo at the moment, on a work trip. Not my first time here, but I have The Sprawl on my mind at the moment – and this place really is the archetype, isn’t it? This really is the Sprawl… both bright and shiny and dark and dirty, corporate culture everywhere…

Hi Hamish.

Hi Hamish.

Hi Hamish… I don’t know if you have any proper process for pointing out editing errors, but a couple of things I spotted while reading the latest 0.6 version…

#1. On page 11/12, you have a particular example under avoiding confusion between moves (e.g “mix it up” vs “help”). On page 35, you have what’s obviously the same example for “help” (almost word-for-word), but the character names have changed (Zero and Oakley, vs Hoot and Alif).

#2. On page 30/31, the text for “hit the street” says “7-9: choose two from the list”, but the example shows the characters picking 3 from the list. I’m not clear whether it should be pick 2 or pick 3?